Look of Love, The

Inside a car traveling through Soho, a young Girl asks “Why do you buy so many houses, Grandpa?” Looking towards the south on Frith Street, London W1.

Peter looked down Frith Street. (SJ)

Its 1992 when, after attending the funeral of his daughter Debbie, Paul Raymond (Steve Coogan) returns to the apartment block where he lives in a penthouse suite. Outside Arlington House on Arlington Street in SW1.

Just to the right of The Blue Posts pub seen in capture 61 and in "Parting Shots". SJ

Reporters finish their questions and Photographers take their last shots as Paul enters the building. Facing Arlington House, standing on the edge of Green Park in St. James’s.

The tree's come up fast. SJ

Paul recalls the late 1950s, when he worked as an impresario on the seaside variety show circuit. The frontage of the Hackney Empire on Mare Street E8. The theatre appears in ‘The Caretaker’.

The Empire is just north of Hackney Town Hall on the west side of Mare Street. SJ

Jean Raymond (Anna Friel) and her husband find a review in a national newspaper about the previous night’s risque lion taming act. Looking north-east from Eastbourne Pier in East Sussex with Marine Parade to the top left.

A more colourful view of the beach. (SD)

The half page article in the Daily Sketch reports that Jean had appear nude during the act. Eastbourne Pier off Grand Parade. The pier features in ‘84 Charing Cross Road’, ‘Angus, Thongs and Perfect Snogging’ and 2010’s ‘Brighton Rock’ and the rest of the town in 'Made in Dagenham', 'The , 2010's 'Brighton Rock', 'The Embezzler' and 'Millions Like Us'.

The amusement arcade and two kiosks were destroyed in the 2014 fire. (SD)

Jean protests “I am a choreographer. I'm Paul Raymond's wife. I'm not a nude.” Facing out to sea on Eastbourne Pier in East Sussex.

Pinkie and Rose were here in 2010's 'Brighton Rock'. (SD)

Reporters and Photographers gather outside the courts following a failed law suit against the Daily Sketch. The Royal Courts of Justice on Strand, London WC2.

The crossing was covered up. SJ

Paul tells the Reporters that he loves his wife and fully supports her in everything she does. Facing eastward outside the Royal Courts of Justice with the Temple Bar monument in the top background.

In colour ... just. SJ

The men from the media are advised that Paul’s new members-only club is opening in Soho and that they are all welcome, after they have paid the membership fee. Looking west on Strand with St. Clement Danes church in the background.

A lot of bollards. SJ

The couple depart and head for the West End. Outside the Royal Courts of Justice on Strand WC2. The courts are seen in many films including ‘Brothers in Law’, 'Percy's Progress', ‘A Pair of Briefs’, ‘Black Orchid’, ‘Genevieve’, ‘Libel’, 'Inadmissible Evidence' and ‘The Battleaxe’.

Today. SJ

A taxi brings Paul and Jean into Soho.

A Prostitute looks down to where the two get out of the cab. The window of Maurice House looking out onto Walker’s Court in W1.

The window remains, surrounded by reconstruction. (PW)

Paul and Jean walk to the door of the new nightclub. Walker’s Court running north from Brewer Street to Peter Street. The narrow alley features in ‘The Small World of Sammy Lee’, ‘Say Hello to Yesterday’ and ‘Don't Open till Christmas’.

Fewer signs now and very little striptease. SJ

The sparkling lights of Paul Raymond’s new venture are lit. A few special effects are added to the former Raymond Revuebar at the corner of Brewer Street and Walker’s Court in Soho, which opened in 1958.

Without the added effects. (PW)

Time moves on and the Revuebar thrives. Brewer Street near the corner of Rupert Street out of shot to the left.

The same, undressed street. (PW)

An Interviewer (Miles Jupp) questions Paul about his plans to transform himself into a theatre impresario. Facing north-west at the junction of Peter Street, Berwick Street and Walker’s Court.

The two men head to the club where dancers are rehearsing a new show. Looking southward along Walker’s Court W1.

Moving away from the Boulevard Theatre construction work, this is the present view. (PW)

The interview continues at the Raymond’s home in leafy SW19, not far from the grass courts of Wimbledon Tennis Club. Actually, this property stands in Denham, Buckinghamshire.

Paul walks alongside his daughter Deborah (Rose Ames Blackaby) as she rides her horse. The White House on Village Road, Denham.

After Paul plays cricket with his son Howard, the interview draws to its conclusion following a walk through the landscaped garden.

A late finish at the club causes Paul to drive home in the early hours. Lambeth Bridge seen from SE1 with the Houses of Parliament in the right distance.

This is not a view from Parliament View apartments but slightly further north from Morton's Tower, Lambeth Palace, which may have to do until a resident can supply an improved shot. Taken by Victoria James' basic "feature-phone." (SJ)

Paul arrives home, waking his wife who notices gold make-up on his shirt. Village Road, Denham in Buckinghamshire, various parts of which appear in 'The Games', ‘Great Day’, ‘Four Sided Triangle’, ‘Made in Heaven’, 'Kind Hearts and Coronets', 'Fools Rush In', 'Three Men in a Boat' made in 1933 and ‘Captain Clegg’ amongst other productions.

Antony Blair's Reliant Rialto makes an appearance in this comparison.

After buying several properties, Debbie walks with her father asking which ones he owns. Looking southward from the corner of Broadwick Street and Berwick Street with the wall of the Blue Posts public house to the left. Berwick Street is often seen on film, including in ‘Strictly for the Birds’, ‘The Playbirds’, ‘Turn the Key Softly’, ‘Evidence in Concrete', 'The Small World of Sammy Lee', 'Sid and Nancy’ and ‘Make Mine a Million’.

Paul tells his daughter that one day she will own the company, adding that nothing confers more respectability on someone than property.

The two continue their walk through Soho. This is in front of Kettner’s Restaurant on Romilly Street W1.

Bits added but the downpipe is true. SJ

Turning a corner, Paul asks Debbie if she would like a piece of cake. Looking into Greek Street from the corner of Romilly Street with The Coach & Horses public house to the extreme right.

An up-to-date motor and just one awning on display. SJ

With the cakes devoured on the journey, Paul drives Debbie to her new school. Eastbourne College on Old Wish Road in Eastbourne, East Sussex recognised by Paul Nicholas.

Paul also provides this proof of the location.

A Teacher (Gráinne Keenan) shows Debbie and her father around. Identified by Paul Nicholas, this is the cloister at Eastbourne College in Eastbourne.

Taken from a similar position by Paul.

Amber St. George (Tamsin Egerton) heads to an audition with Paul Raymond.

Running a little late, Amber enters the theatre . . . and gets the part.

Paul Raymond’s production of Pyjama Tops opens at the Windmill Theatre. In reality, Pyjama Tops played at the Whitehall Theatre for five years from 1969.

The Revuebar continues to make money. The former Raymond Revuebar at the corner of Brewer Street and Walker’s Court in Soho. The club closed in 2004 after going into administration.

I should really be further back down Rupert Street for this shot. SJ

Jean and her playboy husband walk towards the club. Walker’s Court running north from Brewer Street opposite Rupert Street.

The spot today. SJ

Hand in hand the pair cross Brewer Street. Looking along Rupert Street from Brewer Street W1.

Quite quiet for a busy market street. SJ

The couple approach Rusty and Jimmy Humphries (Kieran O'Brien) and ask them into the club for a drink. Looking northward on Walker’s Court.

The building of the Boulevard Theatre continues at the Peter Street end of the court. (PW)

Following a performance of the sell-out Pyjama Tops, Paul drives Amber away from the theatre in his Rolls.

The Silver Shadow turns a corner.

Paul parks up outside a restaurant where the two dine.

An affair begins between Paul and Amber and the two drive to a hotel on the coast. Beachy Head Road leading to Birling Gap, on the second bend heading away from the coast, with Beachy Head in the background. The road also appears in 'The Upturned Glass'. (SD)

Not such tidy verges now. (SD)

After Paul leaves his wife and family, he comes out of Amber’s house when Jean is seen sitting in her car outside.

As he crosses the road, Jean revs the Aston Martin’s engine and speeds towards Paul.

Following a row, Jean drives back to Wimbledon.

Journalists ask Mrs. Raymond how much her divorce settlement is. Looking into Serle Street from Carey Street in WC2.

Press-free. SJ

Jean tells the reporters that she has been awarded £250,000 before they run towards Paul when he appears outside the court. Facing west on Carey Street with the Royal Courts of Justice on the left. The street is seen in ‘A Fish Called Wanda’ and ‘Steptoe and Son’.

There looks like there's been some visual trickery with the left foreground. SJ

Paul and Amber arrive at Arlington House. Outside Arlington House on Arlington Street SW1.

More modern cars and the legally vital no smoking sign now. SJ

Heading to meet with publisher Tony Power, Paul crosses Greek Street. Soho Square in the right distance and the corner of Bateman Street to the left. The junction also appears in 'Evidence in Concrete', 'The Blue Parrot' and 'Last Night in Soho'.

Very recognisable still. SJ

Inside L’Escargot, Paul agrees to buy into glossy magazine Men Only. Greek Street also appears in ‘Melody’ and ‘The Blue Parrot’.

Gaza has replaced the hairdressers Fordham Soho. SJ

When she’s expelled for smoking marijuana, Debbie Raymond (Imogen Poots) and her father carry her school trunk to the car. Paul Nicholas advises that the gates can be found at Eastbourne College . . .

. . . which is proved by his comparison shot in which the inner gates are closed.

Paul drives Debbie back to London. The driveway of Eastbourne College on Old Wish Road, Eastbourne in East Sussex located by Paul Nicholas.

Without the aid of the movie camera's focal length Paul replicates the shot.

Following a less than enthusiastic reception to Royalty Follies, Carl Snitcher (James Lance) heads to tell Paul that bookings aren’t coming in. Outside Archer Street Chambers on Archer Street with non existent buildings in the distance.

The non existent buildings are covering the modern development of Ham Yard. SJ

Paul introduces Amber, now known as Fiona Richmond, to the press. Looking towards Old Compton Street on Tisbury Court in W1. The location appears in ‘Say Hello to Yesterday’, 'The Last Yellow', 'City Rats', 'Last Night in Soho', 'Breakfast on Pluto' and ‘Mona Lisa’.

And to the right is the arch or New Rockingham Club seen in the end titles of TV's "Minder." SJ

The Reporters are advised that Fiona is starring in the West End farce, Let’s Get Laid. Facing south-west on Tisbury Court with buildings on Rupert Street in the background.

Now. SJ

Photographs are taken of the naked Fiona on horseback. Looking along Rupert Street to Brewer Street with the corner of Tisbury Court on the right.

I should be further back here. SJ

Passers by comment on what they see as a disgusting spectacle. Facing south on Rupert Street with the Gielgud Theatre to the left and the junction of Shaftesbury Avenue ahead.

A little blurry but there's the Prince of Wales theatre at the bottom of the street. SJ

Policemen are alerted to the publicity stunt. Archer Street seen from the corner of Rupert Street.

With the modern glass of Ham Yard having to be "tippexed out" again. SJ

Fiona is asked to dismount before being arrested. The junction of Archer Street and Rupert Street in W1.

The side of the Gielgud Theatre, The Globe until the mid 90s, on Rupert Street. SJ

Debbie walks past Kettner’s and sees Tony and Carl with her father inside. Outside Kettner’s Restaurant on Romilly Street.

The look today on Greek Street looking towards Shaftesbury Avenue. SJ

Following the cancellation of Royalty Follies, Tony takes Paul to a studio where he shown material more explicit than has been published before.

When the Obscene Publications Squad impound over 300,000 copies of Men Only, Tony and Carl arrive in Soho to meet with an annoyed Paul. Archer Street with Archer Street Chambers as the background.

Not too much altered. SJ

Paul’s estranged son Derry (Liam Boyle) looks up at his father’s penthouse after a meeting that didn’t go well. Arlington Street SW1 with the Blue Posts public house at the corner of Bennet Street in the background. Also seen in 'Parting Shots'.

The Blue Posts enjoyed a recent rebuild. SJ

As drugs become a larger part of Paul and his daughter’s lives, Debbie takes her father for a night out on the town. Dave W relieved me of my frustration to say that the background here is 88 St James Street, SW1 as seen from a heavily CGI'd and/or maniputed Pall Mall. (RL)

The pair look out over Soho. Charing Cross Road with the red neon signs of the since demolished Foyles Bookshop at the corner of Manette Street to the centre.

Cambridge Circus at the junction of Charing Cross Road and Shaftesbury Avenue on the WC2 / W1 border with the Palace Theatre to the right.

Paul and Debbie head on to a disco where they meet with Tony.

Before Debbie’s wedding to Jonathan, a Rolls Royce brings her family into Soho. Greek Street at the corner with Bateman Street.

Looking north. SJ

The car comes to a halt outside L’Escargot where Debbie dines with her parents and brother Howard. Greek Street in London W1.

Less railing now. SJ

As they walk to the club, Tony rambles on to Paul about the cocaine that he has just taken before being fired when he becomes abusive towards Debbie. Peter Street with a building on Wardour Street in the left distance.

Paul walks through Soho with Debbie shortly after she gives birth to Fawn.

Father and daughter enter the Boulevard Theatre which is hosting The Comic Strip.

Leaving a television interview after recovering from an overdose, Debbie leaves the office with Paul. Looking south-west on Archer Street.

Kissing her Pa, Debbie leaves explaining that she’s heading to dinner with friends. Archer Street with Rupert Street in the left distance.

As his chauffeur Charles drives Paul away, Debbie wanders through the streets alone.

Debbie walks on towards an evening fuelled by vodka, cocaine and heroin.

Receiving a phone call during the night, Paul heads to the flat of Ainslie Tree. St. George's Terrace in NW1 recognised by Gordon Hawtin.

Denis Hoare wasn't in a car so couldn't replicate the 'through the windscreen' shot, but his pedestrian view is a very good compromise. (RL)

Getting out of the Rolls, Paul crosses to the building entrance and the flat where his daughter is lying. St. Georges Terrace with Regent's Park Road in the background, identified by Gordon Hawtin who points out that the distant junction appears in 'Allez France!'.

After waiting half an hour Denis gave up waiting for a Rolls Royce to appear. Thanks, but rather like buses, I expect three would have come at the same time and spoilt the shot for you. (RL)

An Ambulanceman looks up as Paul passes. Gordon Hawtin found St. George's Terrace in Primrose Hill, one of the places he used to hang out when he was a kid in the 1950s.

Denis considered calling an ambulance but thought better of it and settled for the Mini. The action is centered on number 7, the only house to have a gate in this position. (RL)

Debbie’s funeral takes place. Hendon Cemetery & Crematorium on Holders Hill Road, London NW7.

Denis Hoare captures the same scene. (RL)

As mourners disperse, Paul walks away with his grand-daughter Fawn (Jennifer Ellis). Hendon Cemetery & Crematorium with the chapel to the right.

Once again from Denis, respectful of the location. (RL)

Charles (Nick Hopper) leads Fawn from the Silver Spirit to the cake shop window after she asks “Why do you buy so many houses, Grandpa?” Greek Street in Soho.

The east side of the street. SJ

Paul remembers an earlier visit to the cake shop with his daughter Debbie. Looking out from Maison Bertaux onto Greek Street in London W1.

Taken from the pavement outside as it was a bit busy (see above). SJ